Ganaram inukshuk (talk | contribs)
Ganaram inukshuk (talk | contribs)
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== Main mindset ==
== Main mindset ==
I summarize my main mindset using the following trinity: '''temperaments, mosses, and edos are not each other'''.
I summarize my main mindset using the following trinity: '''temperaments, mosses, and edos are not (necessarily) each other'''.


Temperaments produce mosses, but two different temperaments may produce the same mos. Edos support more than one family of mos, so it's fruitless to shoehorn the notation meant for one mos for a different mos within the same edo. Two temperaments may produce the same JI ratio, but have different qualities in different mosses.
Temperaments produce mosses, but two different temperaments may produce the same mos. Edos support more than one family of mos, so it's fruitless to shoehorn the notation meant for one mos for a different mos within the same edo. Two temperaments may produce the same JI ratio, but have different qualities in different mosses.


This level of decoupling makes it so I don't let any one temperament, mos, or edo influence how I look at either, so '''a perfect 5th, 3/2, and 7\12 are not (necessarily) each other'''. In certain contexts, they suggest one another, but they are not each other (at least to me).
This level of decoupling makes it so I don't let any one temperament, mos, or edo influence how I look at either. Just because a nondiatonic mos has a perfect 5th doesn't mean I should think of it as such, especially if that isn't the generator to begin with.


That said, I focus more on mosses and, secondarily, edos when it comes to this trinity. I prefer to look at scales based in a temperament-agnostic sense, as mosses that are supported by an edo, or different edos. Doing so relieves me of the expectation that a certain interval must necessarily fall within a few cents of a [[Just intonation|JI]] ratio and lets me be more explorative with musical scales. This is also less names to memorize, since there are a lot of temperament names, and looking at mosses directly means fewer names to remember.
That said, I focus more on mosses and, secondarily, edos when it comes to this trinity. I prefer to look at scales based in a temperament-agnostic sense, as mosses that are supported by an edo, or different edos. Doing so relieves me of the expectation that a certain interval must necessarily fall within a few cents of a [[Just intonation|JI]] ratio and lets me be more explorative with musical scales. This is also less names to memorize, since there are a lot of temperament names, and looking at mosses directly means fewer names to remember.